The problem with attempting to define Americana is that it is an all-encompassing
term culturally speaking. As far as music goes, Americana runs the
gamut from the Grateful Dead to Willie Nelson and just about everything
in between. Equally, the music of guitarist Bill Frisell is difficult
to describe without embarking on a short essay, and perhaps because
of his eclecticism his music defines the essence of Americana as well
as any and better than most.

This original score for Canadian film maker Leonard Farlinger's All
Hat sees Frisell accompanied by familiar associates—Jenny
Scheinman on violin, Greg Leisz on steel guitars and mandolin and Viktor
Krauss on bass, as well as Scott Amendola on drums and percussion,
and Mark Graham on harmonica. Scheinman, Leisz and Krauss have long
accompanied Frisell on his ongoing journey into the country, bluegrass
and folk which has characterized much of his music this last decade;
not for nothing does All Hat sound like a proper group outing.

Frisell has always been able to mine the simplest tune and extract
unexpected riches; the main theme, for example, is visited four times
and yet sounds radically different each time, going from the beautiful
acoustic guitar version with shuffling drum beat and Scheinman's train-rhythm
violin, to a Johnny Cash-style chug-along romp, to a most graceful
Southern waltz.

There are thirty one pieces ranging from thirty seconds to four minutes
long, but there is a powerful continuity about this score. Frisell's
music is often pictorial, and these sixty minutes are like an uninterrupted
journey through changing landscapes, as sun and moon slowly chase each
other's tails. One can easily imagine the wide plains and prairies,
fields of wheat and small, nondescript towns either side of endless,
straight highway. It's not all pastoral reverie however, and there
are several interludes where Frisell's dark guitar-distortion rumbles,
brooding and foreboding, like storm-heavy skies.

In many ways Frisell is ideally suited to cinema composition as it
is remarkable how much he can weave in one minute, seemingly without
breaking sweat; the tune “Hardy Race” may be the best
one-minute square-dance ever, with mandolin and slide providing the
melody while Krauss, Amendola and Scheinman lay down a delightful,
bobbing rhythm. On All Hat the music rocks and grinds at times,
burns slowly at others, and melts into the sunset, accompanied by Frisell's
loops and ringing single note lines.

Producer Lee Townsend (as much a part of the Frisell posse as any of
the musicians) has, as ever, done a beautiful job with this wonderful
soundtrack, music which is outstanding in and of itself. Without having
seen Leonard Farlinger's film, it is surely safe to say that if it
is as satisfying as Frisell's music, then it is a must-see. All hats
off to Frisell. - Ian Patterson, All About Jazz